Jenifer Sarver was the first American to be hired as soloist with the ballet of the Teatr Wielki in Lodz, Poland, and has also been a soloist with Ireland’s Cork City Ballet, a member of the Slovene National Ballet (Maribor, Slovenia), the Opera na Zamku (Szczecin, Poland), the San Diego Ballet and the California Ballet. Ms. Sarver has also been a guest principal dancer and performed the complete classical repertoire. She has enjoyed two full-time assistant professorships, served as an artistic director for a regional ballet company and taught, choreographed and set repertoire all over the world.
Jenifer Sarver looks at the disturbing short stories, which, ironically, inspired two of the lightest confections of the ballet repertoire: The Nutcracker and Coppélia.
Norwegian National Ballet opened its new run of Natalia Makarova’s staging, with Whitney Jensen and Lania Atkins making outstanding impressions as Nikiya and Gamzatti.
Prokofiev's score is reordered, the choreography is contemporary, characters are missing, and each of the three main scenes is set during a different 20th-century time period... yet, to a certain extent, it works.
A simple, noble and dramatic escape from the present day as the company dances Michael Messerer’s updated (slightly shortened) version of the Vainonen classic.
Considering the very abrupt transition to dance-on-film that most companies are contending with today, Mahler, live chooses to examine the beginnings of this genre.
In keeping this production of The Sleeping Beauty in the repertoire, Boston Ballet is providing a vital service to the history of classical ballet, developing its dancers to their fullest potential, and providing Boston audiences with a chance to enter into a magical world of the most exquisite beauty.
Christmas tradition is valued deeply in New England, and it is only fitting that the region’s penultimate production of The Nutcracker be an utterly classic experience.
